Bridgerton star Simone Ashley recently enjoyed a meal at Darjeeling Express, a restaurant in Covent Garden, London. The wildly popular restaurant is owned by Kolkata-born British chef and restaurateur Asma Khan and is run by nine women.
Ashley, who became a household name after playing Kate Sharma in Netflix’s globally popular series Bridgerton, arrived at the restaurant with the film crew of her latest project, including the producer and director.
“Simone met the girls with so much affection. They were thrilled to meet her. She’s very sweet, very humble. She also left a generous tip. Recognising and appreciating the women who nourish us holds significance for those of Southeast Asian heritage. Regardless of one’s origins, it’s an integral part of our culture,” Khan told an Indian daily.
Simone Ashley poses with all the women employees at Darjeeling Express
She continued, “My connection with Simone came through our mutual friend, Charithra Chandran, who plays her half-sister in Bridgerton. We had discussed the possibility of Simone visiting the restaurant before. However, this time, the reservation was arranged by Christine, the wife of David Gelb, the director of Chef’s Table and a personal friend. She inquired about the availability and made the booking.”
Sharing what she ate at the restaurant, Khan said, “She had our thali at Darjeeling Express and was particularly thrilled about the puri (luchi), because we prepare them fresh for the thali. She watched our girls making it, and I’ve heard she’s a very good cook herself.”
In 2017, she became the first British chef to be filmed for her own episode of the Netflix series Chef’s Table. She has also been a guest judge on Padma Lakshmi’s Top Chef.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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